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Volume 5 
Number 1 

The role of the designer in the 
creation of a pop-up book 

Kathryn Siegler 

San Francisco. California 

There are many stages in the creation of a pop-up 
book. The entire process takes approximately a year. 
Having worked for Intervisual Books, the largest 
producer of pop-ups. for over three and a half years as a 
Design Director. I can say that process of producing a 
pop-up book is a constant learning experience. No two 
pop-up books are ever exactly alike, and each new format 
has its own quirks and surprises. A pop-up book is an 
extremely collaborative effort, with the writer, designer, 
engineer, artist and production team all working together 
to generate the best book possible. I will take you through 
these various stages, from the point of view of the 


The first step in the creation of a pop-up book, or any 
book for that matter, is the subject, or story. This can be 
generated in a number of ways. A client, for example 
Disney, may have an existing story, like the story of 
Pocahontas, or 101 Dalmations. There may only be a 
topic, like colors, shapes or counting, and a concept will 
need to be developed from that. Or. the designer or editor 
may come up with an original idea. There may be a 
character that a publisher wants to develop a book 
around, like Lucy Cousin's Maisy. it is then up to the 
designer and editor to come up with exactly what that 
book will be about. For example. Walker Books wanted 
to do something bigger and more spectacular than the 
simple pull-tab books that they had produced for the 
Maisy character. That was the assignment, to come up 
with a new, spectacular format for Maisy, everything else 
was up to the designer, editor and engineer. I met with 
the editor the project and we discussed a number of 
possible topics and formats. Later, I sat down at my desk 
and started doing thumbnails, working through a number 
of different ideas, one of which was the playset idea and 
became the final book. At home with Maisy. Originally. 
I had Maisy playing in three completely different places, 
a playground, her bedroom, and a schoolroom. I worked 
with the engineer, who developed a rough cut working 

dummy from my sketches. After the client saw the 
dummy, they decided that the playset should be different 
rooms of Mais/s house, because they thought they might 
like to do follow-up books in the same format, and the 
other sites might be used in those. 

Another way that a pop-up book can get its beginnings 
is the creation of a new format, which can then spark 
ideas that are particularly suited to it. Most often it is the 
paper engineers who come up with the new formats, but 
it can also happen in brainstorming sessions where the 
engineers and designers hash out ideas while working on 
a project, and the two collaborate to come up with 
something completely unique. 


After a story is decided upon, the designer must do 
storyboards. which are sketches of the designer's vision 
for each spread of the book. Before a designer can start 
the storyboards, however, the format and specs of the 
book must be decided upon. This is critical information 
because it will determine not only the dimensions of the 
book, but how many spreads, the complexity (how many 
glue points and folds), how much paper can be used, if 
the construction of the book is to be accordion, or tipped 
in pages, whether it will be printed four color both sides 
or only one side, the weight of the paper, whether it will 
be hard cover or soft, and whether there are to be any 
accessories, such as a sound chip, additional booklet, 
stickers, etc. Some of these specs will be determined by 
the designer, but often there can be preexisting 
limitations that the designer needs to know about, such as 
the target price, or that the book is for very young 
children which means no small parts. This information 
usually comes to the designer from the production 
department. If in the process of designing the book the 
designer wants to alter any of the specifications, they 
must be run by the production department to make sure 
that it is feasible, and will not dramatically affect the cost 
of the book. 

For pop-up books, a designer must also consider the 
mechanics when laying out a spread. Different types of 
mechanics operate best from certain areas of the book 
For example V-pops usually need to be near the center. 

The Movable Book Society 

Movable Stationery is the quarterly publication of The 
Movable Book Society. Letters and articles from 
members on relevant subjects are welcome. Advertising 
is accepted free of charge from members and is included 
when space permits. The annual membership fee for The 
Society is $15.00. For more information contact Ann 
Montanaro. The Movable Book Society'. P.O. Box 
1 1654, New Brunswick. New Jersey 08906. 

Daytime telephone: 908-445-5896 
Evening telephone: 908-247-6071 
e-mail: montanar'5 
Fax: 908-846-7928 
The deadline for the next issue is Mav 15. 

Continued from page 1 

or "gutter." pull-tabs should be fairly close to the object 
that they activate, so as to conserve on paper. The 
designer must also make sure to incorporate the text type 
mto the overall design When designing a pop-up. it's 
easy to get carried away with the image and mechanics. 
only to realize that you have no room left for the text! 

So, keepmg in mmd all the specifications for the book, 
the designer sits down and sketches out each spread, 
indicating where type will go. and what mechanics they 
have in mind. After completing the sketches. I usually 
meet with the engineer to discuss my layouts, as I want to 
get input on the mechanics. I want to know if my 
suggestions are mechanically possible, if they have any 
other ideas for mechanics that I may not have thought of, 
or that may work more effectively, or use less paper. 

At this stage, the storyboards are reviewed internally, 
and either approved or sent back to the designer for 
revisions Sometimes after internal approval, the 
storyboards are sent off to the client for approval, but 
often the client would rather wait to see a rough cut 
dummy, because it can be hard for them to visualize the 
pop-ups from flat sketches Which takes us to the next 
step, buildmg the rough cut dummy 


The designer meets with the engineer, explains the 
layouts and answers any questions they may have about 
the storyboards. As the engineer brings the storyboards 
to life, problems and new ideas can present themselves, 
so there is a lot of back and forth discussion between the 

designer and engineer. At this stage the designer will 
begin the process of researching and contacting possible 
artists to illustrate the book. This involves looking 
through artists* directories, such as the Workbook, and 
files of artists* promotional samples that the designer has 
collected. The designer will also call artists or their reps, 
for specific samples on the subject that the book is about. 
This is helpful because the samples will help sell the 
publisher on the art style that the designer envisions for 
the book 

After lots of trial and experimentation, the engineer 
turns over the rough cut dummy to the designer. At this 
time the designer will design and set the text, making 
sure it fits well on the page and that in all the revisions to 
the layouts for engineering refinements, there is still 
enough room on the page for the type to fit The dummy 
agam goes through the approval processes. If the 
designer has samples of the illustrator's work, it will often 
be sent those along with the dummy to the publisher for 

Before the book can proceed to the next step, it must be 
given to the production department to make quote blanks, 
which are blank books exactly like the rough cut. These 
quote blanks are sent out to printers to get quotes on how 
much they will charge to produce the book. All the specs 
are sent along with the book, so that the printer will have 
as much information as possible to quote the job 
accurately. If the quotes come back too high, the designer 
and engineer must go back and revise the layouts and 
engineering to bring the manufacturing price down. 
Sometimes the cost will still be too high, and the project 
may have to be abandoned. 


Once the rough cut is approved, the artist has been 
chosen and fee negotiated, (which the designer must also 
do), the book is given back to engineering to create 
artist's sheets. Artisf s sheets are tissue overlays that show 
the artist the page size, where the mechanics are on the 
spread, and the amount of bleed needed, ("bleed" is an 
extra amount of printed image which extends bevond the 
trim edge of the sheet or page, or in the case of pop-up's. 
around the pieces for the mechanics, as well.) They also 
show all the pieces of art that will be needed for the 
mechanics themselves, because those pieces have to be 
illustrated separately from the base page art. Once they 
finish, the engineer turns them over to the designer, along 
with mdrviduaL engineered spreads so that the illustrator 
can see what the end result will look like 

Continued on page 12 

Kees Moerbeek on his Work: Introduction 

Theo Gielen 
The Netherlands 
Regular readers of Movable Stationery know, from 
the article by Peter Schuhle in the December. 1 996 issue, 
that Kees Moerbeek lectured at the September. 1996 
gathering of collectors in Haarlem. Since we thought his 
lecture was very interesting and would appeal to all 
collectors of movable and pop-up books, we asked Mr 
Moerbeek for permission to translate his lecture for 
publication in Movable Stationery. He kindly agreed, we 
translated and though he showed a series of slides in 
Haarlem, we think readers will be able to understand his 
explanations by using copies of the two books he is 
describing: Four courageous climbers and The museum 
of unnatural history. 

The Feminine in My Books 

Kees Moerbeek 
The Netherlands 
Some weeks ago. at the opening of the exhibition of 
movable and pop-up books in the Frans Hals Museum in 
Haarlem. I happened to have a conversation with one of 
your fellow collectors. Once the ice was broken, and 
growing rather familiar, this collector told me he had 
stopped buying my books since "they were more of the 

As you will understand, this communication shattered 
me. It took me at least a week to value the message at its 
true worth. I am not a collector myself and truly said I 
don"t understand too much of the collector's state of 
mind. I take for granted collectors are always hunting for 
extremities: the oldest copy, the most intricate, the rarest 
or most unusual editions. 

Collectors (here of pop-up books) are always looking. 
I think, at the design of the book first, measuring the 
quality of the book on the basis of their own collection. 
Does the book fit in with the collection? Is it valuable 9 
Does it match? If not. it stays on the shelves of the 

But I am a maker of books and therefore I think 
completely differently. The first thing I want is to tell a 
story, not to create a new design. I don't intend to be 
more spectacular than things are now. nor to make paper 
constructions that haven't been seen before. I intend to 
tell a story within the limitations of the pop-up medium 
I go by the quantity of paper allowed, a reasonable 
number of glue-points and the limitation of five or six 
spreads. And when something new develops, a deviating 
shape or original paper construction, it is always by 

chance, never calculated. 

For the collector, the construction of the book will 
come first. For me as a designer the contents are most 
important and the construction is just an accessory 
matter. And there is always the danger of the contents 
getting lost in their outer manifestation in the book Pop- 
up books are more easy to look at than to see. And for 
that reason I want you to see what you have probably 
already a looked at in some of my books. My books are 
always concerned with the conflict between the 
masculine and the feminine. 

Some years ago. at the Bologna Book Fair, an 
American publisher asked me. in relation to my book 
Four courageous climbers (1991). why women never 
appear in my books. That isn't true. Women always take 
part in my books. They just take the shape of animals. In 
Four courageous climbers women are an owl. a lynx, a 
goat a yak. and a condor. All of them are representatives 
of the same thing: thoughtfulness or common sense. And. 
they are confronted with five men with beards, one of 
them shaped as a donkey. Of course all of them are 
donkeys, but for obvious reasons I couldn't tell a story of 
five donkeys climbing a mountain without growing 
incomprehensible. These men represent thoughtlessness, 
action without consideration: the adventure. They want to 
climb a mountain just to reach the top. Surely, a simple 

The first woman, shaped an owl. cries and says "Don't 
- if I were you. I'd stop." The second one, a lynx, warns 
them about the slope being slippery but the men boast 
saying they are, "not scared! We climb without a rope ." 

The third, a goat, asks why they want to climb so very 
high. And the men say "Because the mountain's there. 
that's why!" The fourth woman, a yak. implores them to 
go back before getting lost in the blizzards. But the men 
don't care, saying their feet are "sticky like a lizard's!" 
The fifth, a condor, says "Our warnings failed, it's now 
too late for you." But the men struggle on. All of them are 
hurting or half dead by now. but they stick together and 
stand by their goal, to reach the top. 

On every spread I increased the amount of black. 
Spread five is black for its greater part, making it obvious 
spread six would be completely black. That would have 
said the book is finished, all men are dead and their 
voyage senseless. But spread six isn't black at all. it is 
very white, with a white snowman, indeed, a snow man 
this time, not a woman. If the climbers had known from 
Continued on page 10 

The 2nd Conference of the 
Movable Book Society 

April 30 

May 1 and 2. 1998 

Los Angeles. California 

If you are interested in assisting with 

Local Arrangements. Program Planning. 

or other details. 

Please contact Ann Montanaro. 

Letters to the editor 

We read, with interest. Theo Gielen's article about the 
Frankfurt Book Fair and the "end" of Compass 

While Mr. Gielen was correct in stating that Compass 
was absent from Frankfurt this year, the company is still 
very much alive and creating and producing books. There 
has been no "breakdown" at Compass; there has been a 

Keith Moseley and Pat Paris have resigned from the 
company. Any limitations Keith Moseley felt were his 
own. At no time was he limited to what he could or 
couldn't create or work on. On the contrary. Keith usually 
worked only on the projects he wanted to. Changes to any 
of his books were made at the request of the publisher 
who bought his books, not by Compass, and he was 
informed and involved in those changes. 

The company was put up for sale after all four 
shareholders agreed to do so in the fall of 1995. Keith 
and Pat decided to leave on their own before any sale was 
consummated. Since their departure. Dick Dudley and I 
continue to manage Compass and continue to create and 
produce innovative and quality pop-up books 

Compass' decision not to exhibit at Frankfurt was a 
rational one based on the number of American editors 
who do not attend Frankfurt. Instead, we will continue to 
exhibit at Bologna, where we have both the American 
and foreign editors attending. 

In the future. I suggest you check the accuracy of the 
reports you print. Getting only one point of view can 
present a very biased and false picture. 


Janet Ervin 
Lancaster. Californaia 
Bemie Wnghtson first began as an editorial cartoonist 
for the Baltimore Sun over thirty years ago. His work has 
progressed to the illustration of books, magazines, 
comics and motion pictures. He is especially well known 
for his rendition of Frankenstein by Mary Shelly. 
Currently there are non-sports cards to that effect, and 
several monster model kits produced by the "garage kit" 

He is also co-creator of the comic book character 
"The Swamp Thing." Other writers he has illustrated for 
include Stephen King's The stand. Creepshow, and The 
cycle of die Werewolf. And as many illustrators often do, 
he has dabbled in the film industry with the designing of 
several creatures for "Ghostbuster" and Ghostbusters II." 

In an effort to show then love of pop-up books, a 
company called Sideshow Inc. has created their first 
pop-up. and has showcased Wnghtsons' work. The art 
ofWrightson, Vol. 7" is both colorful and inexpensive. 
Though the mechanics are simple, more representative of 
the Derrydale editions, the subject matter is interesting 
and appeal to all of us who love monsters and horrific 
Halloween images. Please note that this is a portfolio 
work, and does not contain a story line 

Since I love monsters I easily added this book to my 
collection. I first ran into this company while attending 
the "Mad Model Party" in Los Angeles, which is a show 
for "garage kits " These are monster, fantasy, and figure 
kits made by talented artists and sculptors who generally 
produce only a small number for sale. If any of our 
California members decide to get this book I understand 
Bernie Wrightson will be attending the show this 
Memorial Day weekend in Pasadena. There's nothing 
like getting that copy autographed! 

My dealings with "Sideshow Inc." have been nothing 
but wonderful and they have stated that if you mention 
the fact that you are a society member you will receive a 
discount Then number is 1-800-474-3746. It's nice to 
see a new entry into this field and I think we should 
encourage new publishers. After all each success story 
for the small publisher means that much more shelf space 
we have to clear 

Arnold L. Shapno 
Compass Productions 


1 W - AWFUL 

2 "fc - Poor 

3 "fr - OK 

4- "& - Good 
5 "w" - Superb 

/< Alphabet Magic. By Chuck Murphy. Little 
VjJjT Simon. 0-689-81286-8. $14.95 US, $19.95 
■SyCail Can. 20x1 8cm. 7 spreads. 26 tab mechs. Art: 
Simple, pastel colored, computer generated images. 
Plot: ABC's for very young readers. Each spread con- 
sists of black letters of the alphabet printed on pieces 
of acetate. When a tab is pulled below each piece of 
acetate, an image is revealed. The printed letter on top 
now becomes part of the image that is revealed. Very 
clever idea and well used. Paper Eng: Simple. 

Animals at Play - A pop-up book. Design: 
» Jim Dessing. Ill: Carol Schwartz. Paper Eng: 

Renee Jablow. Random House. 0-679-88377- 
0. S3. 99 US. S5.50 Can. 20x20cm. 7 spreads. 4 pops, 2 
flaps. Art: Realistic watercolor/airbrush. Plot: Title 
says it all. These are the first pop-ups I've seen that are 
softcover but the money saved on binding has not gone 
back into creating great pops. In fact, they're pretty 
dull. For very young readers. Paper Eng: Very simple. 
Also: Baby Dinosaurs, 0-679-88374-6; Busy Trucks, 
0-679-88375-4; Ten Fat Hens, 0-679-88376-2. 

Big Machines. By Jan Pienkowski. Paper 
Eng: Renee Jablow & Helen B aimer. Dutton. 
0-5*25-45854-9. $7.99 US, $11.99 Can. 
19x1 9cm. 6 spreads. 6 pops. Art: Bright, flat colors 
outlined with black pen. Plot: Men and their toys. Nice 
bold an and some cute pops. Extra points for the diver- 
sity of characters. For very young readers. Paper Eng: 
Simple. Also: Boats, 0-525-45851-4; Planes, 
0-525-45852-2: Trucks, 0-525-45853-0. 

J"s^ The Brain Pack. Text by Ad Dudink & 
Vjjv Pamela Clifford. Ill: Paul Crompton. 
m^im Paper Eng: Mark Hiner, Corina Fletcher, Ron 
Van der Meer. Running Press. 1-56138-746-0. $40.00 
US. 28x28cm. 7 spreads, many w/side flaps. 6 pops, 11 
tab/flap mechs. 1 wheel, 2 scratch-n-sniffs, 1 audio 
cassette and various paper booklets, cards and brain 
related games. Art: Realistic paintings. Plot: You'll 
never take your brain for gTanted again. A well thought 
out (no pun intended) title that is fun and engaging 
(and sometimes a little annoying since I failed so mis- 
erably at some of paper brain games). The first pop of 
the brain is great! Paper Eng: Somewhat complex. 

Crawlies Creep. By David Pelham. Dutton. 
0-525-45576-0. $9.99 US. 12x15cm. 10 
spreads with side flaps. 10 pops. Art: Real- 

istic watercolor/airbrush. Plot: A variety of animals 
strut their individual stuff. A sequel to the 1988 hit 
Worms wiggle. Another fun title from one of the greats 
in movable books. Paper Eng: Somewhat complex. 

The Hokey Pokey and other parry rhymes 

By Steve Augarde. Scholastic. 0-590-88021- 
7. $6.95 US. $8.99 Can. 12x17cm. 5 spreads. 
5 pops. Art: Humorous pen/watercolor. Plot: Common 
rhymes (although I think many of them are British, 
since only the title rhyme was familiar) for groups of 
children to use as a guide during play time. Mildly 
diverting and the art is fun. Paper Eng: Simple. Also: 
The itsy bitsy spider and other hand rhymes. 

If you're happy and you know it clap your 
k hands. By David A. Carter. Scholastic. 0- 

590-93828-2. $14.95 US, $18.95 Can. 
18x24cm. 7 spreads. 1 pop, 6 tab mechs. Art: 
Humorous collage and pastel. Plot: The well-loved 
children's song demonstrated by well-dressed animals. 
Colorful, cute and simple. Paper Eng: Simple. 

I'm going to the dentist - A pop-up book. 
3 t Design: Willabel L. Tons. Ill: Maxie 

Chambliss. Paper Eng: Dennis K. Meyer and 
Rafael Rangel. Ladybird. 0-7214-5714-2. $7.99 US, 
$9.99 Can. 16x1 6cm. 5 spreads. 5 pops, 8 tab mechs. 
Art: Humorous, greeting card-like pen/watercolor. Plot: 
A lesson in oral hygiene, including descriptions of den- 
tist's tools and taking care of teeth. One unique 
moment is the simple tab mech that makes the kid 
vomit water into that white, porcelain basin. Paper 
Eng: Simple. Also: I'm going to the doctor, 0-7214- 

The Night Journey. By Paul Dowling. 

Doubleday. 0-385-32287-9. $14.95 US. 

22x26cm. 6 spreads, 1 1 tab mechs. Art: 
Humorous, colorful paintings. Plot: A family spends an 
illuminating night out on the town. Tab mechs reveal 
an image underneath acetate panels. Concept is inter- 
esting (see Alphabet Magic, above), too bad book isn't. 
Paper Eng: Simple. 

Pop-O-Mania. By Barbara Valenta. Dial. 0- 

1 ' ; ' 8037-1947-7. $16.99 US. 21x28cm. 6 spreads, 
3 side flaps. 5 multi-piece pops, 20 tab/flap 
mechs, 2 wheels, 8 flaps. Art: Bright, cut-paper col- 
lage. Plot: "How to create your own pop-ups." And 
then some! By far one of the best how-to books ever! 
Not only does it show how to make simple pop-ups, 3- 
dimensional examples are shown right next to the in- 
structions. A "must have" for all pop-up lovers. When 
is Pop-O-Mania 2 coming out?! Paper Eng: Simple. 

Superimposed Plates 

Theo Gielen 
The Netherlands 

In the fall of 1996 the Dutch publishers "010" from 
Rotterdam (010 being the Rotterdam telephone exchange 
number!) published an English language diary on books 
with superimposed plates, using over sixty very well 
reproduced page-large, color pictures from this category 
of movable books so popular at the turn of the last 

Superimposed plates were used to make complicated 
things like the human and animal body, means of 
transportation (arrcrafts. locomotives and cars), and 
engines and appliances understandable for the general 
public By lifting up the different layers the reader was 
able to go deeper and deeper mto the internals of a body 
or a machine. Superimposed plates are examples of an 
extraordinarily clever application of the art of illustration 
and of printing technology, often executed in 
chromolithography . 

Although most of these books originate from 
Germany and France, publishers as Vmton & co. 
(Vinton 's live stock models, produced for farmers, vets 
and as teaching aids). George Philip & Son (Philip 's 
series of popular anatomical models). Bony & Co., 
Caxton. and others brought these books to the U.K.. and 
the firm of Orange Judd Co. from New York did them 
until the 1940's in the Umted States. One of them. The 
fold-out atlas of the human body. Alfred Mason 
Amadon's classic 1906 edition, has been reprinted 
recently (1984) by Crown Publishers. New York. 

All of the illustrations are from books from the 
collection of Mr. Hans Oldewams who wrote an article 
on these movable books, the only article on the subject 
known to us. His collection will be exhibited from the 
end of November until February 1997 m the exhibition 
room of the Rotterdam Town Library. 

The diary has been drafted in a clever wav. After using 
it as a diary in 1997. you can remove those pages that 
make the diary and there will remain a richly illustrated 
reference work, in no way showing it was once a diary. 

The introduction describes the history of what was - 
for a brief period - a very popular wav of getting 
information across. It is with the kind permission of Mr. 
Oldewarris that we are allowed to reproduce here his 

010 Diary 1997 
Superimposed Plates. Introduction 

Hans Oldewarris 

Du nennst das grosste Gluck auf Erden 
Gesund zu sein. 
sage nein 
Das grosste ist - gesund zu werden. 

You say the greatest joy on earth 

is to be fit. 

No. that's not it. 

Becoming fit has so much greater worth. 

With these remarkable lines the German M. Platen 
opened his preface to the 23rd impression (1900) of his 
phenomenal best seller Die neue heilmethode. Working 
jointly with Fnedrich Eduard Bilz (1842-1922), Platen 
propagated natural healing, which unlike treatment with 
medicines advocates the use of generally understandable 
remedies available naturally, such as air. light, rest, heat 
and cold, exercise, massage, magnetism, electricity and 

Many translations confirm the impression that interest 
in this "new" natural healing was enormous, even outside 
Germany. More than two million copies were sold in The 
Netherlands alone. 

A great part of the mterest can be explained by the 
poor hygienic conditions experienced by much of the 
population in large towns. Natural healing offered 
relatively simple remedies, something to improve the 
situation without having to call in a doctor (steam baths, 
massage, herbs, etc.). There was even a promise that his 
new natural healing would completely replace existing 
medical science. However, a not inconsiderable part of 
the interest was aroused by the plates which accompanied 
even' publication, showing the male and female body, 
with a fold out plate showing individual parts like the 
head, the nose, the ear. the heart, the lungs, the liver and 
the kidneys. These "superimposed plates." zerlegbare 
Modellen or planches superposables give an easy to 
grasp explanation of the way the human body works. The 
skeleton, the muscles and the blood circulation are all 
covered in plate after illuminating plate, culminating with 
the oigans. whose internals can be studied in minute 
detail. The triumphant climax of this survey is an unborn 
child in the womb of a pregnant woman 

Continued on page 12 









































■ 40 






























1 David Pelham's naughty 
sandwich maker (1990) 
4 Ron Van Der Meer's 
"The _ Pack" (1994) 
9 World Wide Web, for short 

12 Play on Capote 

13 Opening section 

14 Wedding words 

(great advice for Pinocchio) 

16 Envelope opener 

17 Dean & , "originator" 

of the toy book 

19 Spinner 
20"_the Bunny", 

Dorothy Kunhardt's 

1 940 tactile book 
22 Praise 

24 Yorkshire county borough 
27 & 35 The _ Book _, 

founded in 1993 by 


32 College cheer 

33 Jackson (not the King of Pop) 

37 Jan Pienkowski's 
"Oh _ A Fly" 

38 Shoemaker's tool 
40 Contents of Nick 

Bantock's "Griffin & 

Sabine" trilogy 

42 tnemurtsni tetrauq 

44 Long story 

47 Digit for a little 
piggy story 

48 140 at Caesar's palace 
51 -relief, painting-like 

52 Gray 
54 Woolly beasts of burden 

56 Baseball official 

57 & 58 Song choruses 
59 -cutting, stage in the 

production of a pop-up 

60 Paper engineer Lokvig 

61 Be 

62 Ms. Montanaro 


1 Motionless 

2 Prague pop-up group 

3 The Waldo Hunt 

Children's Book , 

Santa Monica, CA 

4 Haze 

5 Archaic preposition 

6 Rung 

7 George Gershwin's 

8 With no missing piece 
(every collector's dream) 

9 He gave us the 
"dissolving" picture in the 
late 1800's 

10 Period in Japan, era of the 
early "omocha-e" or 

toy picture 

1 1 Heavy weight 
21 Latin plural 
23 Two in Tijuana 

25 Hoover or beaver 

26 David A. Carter's "I'm " 


28 Rotatable disc in 
Johannes Mueller's 

29 Sampras serve 

30 Small amount 

31 Rent 

33 Sheep sound 

34 Bird on Kees Moerbeek's 
1996 pop-up book 

36 Units of age: abbr. 

39 Mr. Meggendorfer, the 
master from Munich 

41 Robert award-winning 

author, artist, paper engineer 
(and pop-up book reviewen 

43 Perfect score 

45 Street urchin 

46 Popular poplar 

48 Site of Carvajal SA. the 
pop-up book assembler 

49 Yule 

50 Endure 

52 Coin from Laos 

53 Sign outside a hit show 
55 Int'l airport for the next 

pop-up convention (1998) 

Popping Up In the Desert 

Robert Sabuda 

New York. New York 

I had never been to Arizona before. I don't even think 
I could point it out correctly on a map. Even if it was one 
of those maps where the states were color-coded. When 
I think of Arizona I think of western movies and 
Technicolor sunsets with rumbleweeds whizzing by. It's 
certainly not the kind of place I think of when I'm 
thinking about pop-up books. But, hey. I've been wrong 
before. And the 9th Annual Pop-up & Movable Book 
Exhibit mounted by the University of Arizona's library 
certainly proved me wrong. 

Over the last Thanksgiving I had the pleasure (and 
honor) of being Dr. James T. Sinski's guest at the 
opening of his annual exhibit. Over 200 titles were on 
display covering all aspects and types of contemporary 
American movable books. The University even has 
display cases in the lobby of the Special Collections 
division and had filled them with original works-in- 
progress from my last book. The 12 days of Christmas 
(Although it was a kind of weird to see this since the little 
cards that were below the pieces describing what they 
were, made me feel like a total fraud since I don't think 
about these steps nearly as much as the University did!) 
Everything was meticulously displayed under glass just 
like at Tiffany's, which I love. Although unlike at 
Tiffany's, if you wanted to buy one of these you wouldn't 
have to mortgage your home. The catalog is also great 
because a) it actually has every single title appearing in 
the show, b) it has photographs of several items and c) it 
comes in your choice of three fabulous colors: sunburst 
yellow, glorious green, and hot pink. Pick your favorite 
for accessorizing. And. don't miss next year's exhibit! 

Pop-up Citations 

The New York Times January 30. 1997. 
Edison. New Jersey. Not even Cruella De Vil could have 
hatched a scheme this wicked. Colombian smugglers hid 
806 pounds of cocaine in a shipping container full of 101 
dalmation pop-up books that was intercepted at a 
warehouse in edison yesterday. United Sstates Customs 
agents said. Marty Ficke. a special customs agent, said 
the duffel bags full of cocame. worth $ 1 2 million on the 
street, were probably buried under the 876 cartons of 
books shortly before the ship that carried them left port 
in Colombia, where the books were manufactured. 

Agents were alerted about the drugs after the ship, the 
Csav Rungue. cleared customs at Staten Island. Mr. Ficke 
said. In such operations. Mr. Ficke said, smugglers 
usually break mto the container after it arrives in port to 
find the cocaine, but a heavy customs presence at the port 
that day may have frightened these smugglers off. Neither 
the Walt Disney Company nor the books' ultimate 
destination, a book company in Mansfield. Mass.. are 
implicated in the case. 

Philippine Daily Inquirer. October 4. 1996 

If you are a keen collector of odds and ends from 
different parts of the world, think twice before bringing 
in items through the mail. 

You could be taxed exorbitantly and possibly lose the 
items you have painstakingly collected during your 
travels. To be sure, clear up matters first with your local 
postmaster before making the shipment. 

Ask PLW ad agency's Adie Pena about his unsavory 
experience. Pefia is an incurable collector of pop-up 
books from all over the world Every time he goes 
abroad, he takes tune out to buy his favorite books. 

In his latest travel to the US. for instance, he scoured 
the local bookstores for the unusual books. This time, he 
overdid himself and bought more than a hundred pop- 
ups. including rare finds from obscure bookstores in 
different states 

Instead of carrying the books while he traveled, he 
mailed the items in several mail bags, posting them as 
personal effects. He was used to doing that in the past. 
When the shipment arrived, however, he did not expect 
the Makati Post office to slap taxes on the pop-ups. 

He was advised that his books were appraised as of 
commercial quantity . And he was told if he did not pay 
the taxes within 30 days or so. the post office would 
dispose of the items accordingly. 

It took a wlule and much consternation on the part of 
Pefia before he finally convinced the customs officer that 
he was neither a smuggler not a trader but just an avid 
collector of pop-up books. He wTote the customs official 
that he was book collector and attached a copy of a 
newspaper article about bis odd collection. Pena got his 
pop-ups without tax. "I was up in arms because the post- 
office guys were very arbitrary with their definition of 
taxable goods. "Iba-iba ang ruling nila." Pena told us. 

Pop-up books, by the way. are not just kiddie-book 
stuff. These are the familiar cutup pictures that pop out of 
the pages of nursery rhymes, the likes of "Mary had a 
little lamb" or "Little Miss Muffet sat on a ruffet" But. 
unknown to many, collecting pop-ups is a grown-up 
man's hobby. And the books can be as sophisticated as 
the modern versions with sounds and lights 

sold out within two weeks: the catalog within less than 
six weeks. It is such a collector's item by now that people 
offer three times the price for which it was sold onlv half 
a year ago. Unfortunately, no money has been found for 
a reprint, so there will be just a small publication for the 
Amersfoort exhibit with, at least, a list of the books on 

Intei-visual Books Inc. SEC Quarterly Report. 

November 13. 1996. 

On November 1. 1996. the Company announced the 
resignation of Charles E. Gates, the Company's President 
and Chief Executive officer, effective November 15, 
1996. Mr Gates has agreed to provide consulting 
services to the Company for a period of approximately 
five (5) years. Mr. Hunt the Company's Chairman of the 
Board, will temporarily assume the responsibilities of 
President and Chief Executive Officer until a successor 
for Mr. Gates is appointed. 

Biblio: The Magazine for Collectors of Books, 
Manuscripts, and Ephemera Volume 2. Number 1. 
January. 1997. Pages 48-53. 

John Michael Dawson's article "The Collectible 
Children's Curiosities of Vojtech Kubasta" is a 
comprehensive account of Kubasia's life work and 
contribution. The cover features a full color illustration of 
the pop-up from How Columbus Discovered America. 
Other color and black and white illustrations appear 
throughout the article. 

The items exhibited m Haarlem will now all show on 
other pages, and books from other collections will 
replace those loans to Haarlem which are no longer 
available this year. The whole exhibition in Amersfoort 
will also have a completely different look from the 
Haarlem one for these reasons. 

Exhibition The Movable Book in Museum Flehite. 
Westersingel 50. 381 1 BL Amersfoort. The Netherlands. 
Telephone 033-4619987. From June 28 until September 
21. 1997. The Museum is open Tuesday through Friday 
10:00 - 17:00. Saturday and Sunday 12:00 until 17:00' 
Theo Gielen 

Book and Paper Happenings 

Columbia College 

Chicago Center for Book & Paper Arts. 

A full program of lectures, classes and workshops is 
offered for the Center's Spring schedule. Classes include 
papermaking. bookbinding, artists' books, clamshell 
boxes, book repair, and book structures. For more 
information caU 3 12-43 1-8612. 

Exhibits of Pop-up and Movable Books 

Meggendorfer Exhibit 

The town of Traunstem (situated between Munich and 
Salzburg) will show an exhibition on Lothar 
Meggendorfer during Jury and August 1 997 . As with the 
Haarlem Exhibition, it is planned to have a meeting of 
collectors. The exact date has not yet been set. 

Hildegard Krahe 

Haarlem Exhibit Repeated 

After the huge success of the Haarlem exhibition last 
year the same books will be on display this year in the 
museum Flehite in Amersfoort near Amsterdam. 

The Haarlem exhibit had just over 18.000 visitors 
within the nine weeks it lasted. The poster with a built-in 
do-it-yourself of one of the pop-ups from the catalog - 

Newport Paper Arts Festival IV. 
April 4-6. 1997 

The Newport Oregon Paper Arts Festival will feature 
eleven instructors and twelve workshops on hand 
papermaking. book arts, and related paper creations. For 
more information contact Denise DeMane at 541-265- 

25th Michigan Antiquarian Book and Paper Show 
April 6. 1997 

The Mid-Michigan Antiquarian Book Dealers 
Association will hold their annual Book and Paper Show 
on Sunday, April 6 at the New Lansing Center. 333 E. 
Michigan. Lansing. Michigan. For more information 
contact Ray Walsh at 517-332-01 12 

BookExpo America. 
May 31 -June 2. 1997 

BookExpo America, formerly the American 
Booksellers Association Convention & Trade Exhibit. 

will be held at Chicago's McCormick Place Complex. It 
is the "single largest bookselling event in North 
America." There is a significant entrance fee. 
Information is available at: or 800-840-5614. 

Questions and Answers 

Q. We recently happened to see a copy of a beautiful 
carousel book from the fourties: Snow-White and the 
seven dwarfs. A fairy tale by the Brothers Grimm in 
six pictures designed by Will Gauchel Wiga Book 
Theater. Liidenscheid/Germany. Carl v.d. Linnepe. n.d 

The figures within the different layers have been 
shaped into detail and the whole is reminiscent of the 
big carousel books designed by Zampini in the early 
fourties. The series also had a very special way of 
displaying one scene after another by a built-in 
framework. There appears to have been published at 
least two titles published as Wiga Book Theater, a 
Robinson Crusoe and a Nativity (?). Who knows or has 
in his collection copies of these titles and could provide 
more bibliographic details, or better photocopies of the 
front cover and title page? Does anyone know more 
titles in the series? 

Theo Gielen 
The Netherlands 

Q. I am in the process of working on a second volume 
of Pop-up and movable books: A bibliography. A 
number of books have come to my attention from 
dealers' catalogs, online databases, and correspondence 
but I am unable to describe many of the books from the 
information available to me. This is the first of a 
number of requests for additional information If you 
have any of these books, please send me a complete 
citation with author, title, paper engineer, production 
company and place of production, place of publication, 
publisher, and date of publication. Also include a 
description of the movable illustrations. 

1 . ABC Pop up Mabel Lucie Attwell. illustrator. 1 96 9 

2 ABC pop up. Higham. London. 1978 

3 . Animated nursery tales. Julian Wehr. 1943 

[The illustrations are Thumbelina. The elves and the 

shoemaker. The wonderful porridge pot. and The 

gingerbread boy. What is the cover illustration?] 

4 Brian & the space men. Dougal's magic lamp 

Both in The Magic Roundabout series. Purnell. 1985. 

Are they pop-ups? 

5. Hopalong Cassidy and the Mesquite Gang 

Purnell. 1 95-? Description needed 

6 Moschops and the sneezes Purnell. 1983 
Is this a pop-up 9 

7 Mary Mungo & Midge. Dean. 1970 

A note associates the name John Ryan with this book. 
Who is he? 

8 The original floating zoo. Concordia Publishing, 
1975 9 Described as an Action Book, is it 

a pop-up? 

9. Pickles don 'tgrmv on trees Random House 1 97-? 


10 Pop-up book of crazy golf Intervisual Books, 

This is identified as "A Ted Smart book "' From the 
catalog record it appears to be the same book as Golf- 
o-rama. Is it? If so. why was it published under both 
titles 9 

1 1 Runaway pictures. Ernest Nister A uovel push & 
pull book " Please describe the plates. 

Thank you. 

Ann Montanaro 

East Brunswick. New Jersey 

A. A question was posed in Volume 4 number 2 
asking if the books Castles. Caverns. Cowboys. 
Dinosaurs. Indians, Mountains. Prehistoric man. and 
I 'olcanoes announced in the 1 994 Universal Sales and 
Marketing catalog were published. The answer until 
now was that they were not published. But. that doesn't 
mean the books were never published! The whole 
series has been published in Italy at Ed. Panini in 
Modena for about $12.00 each. 

Theo Gielen 

Moerbeek. continued from page 3 

the beginning that a snowman lives at the top of the 
mountain, then expedition would have made sense. But 
they didn't know and they never thought it an argument 
to continue. 

The snowman is very happy with then visit since no 
one ever comes to keep him company The climbers are 
half dead already, so this would be a good place to die. 
One could say they should have entered heaven at once, 
without seeking it. frozen up forever m the ice. This 
being an unexpected religious turn, though looking 
senseless, life finally had made sense. 

But I didn't intend a religious book and surely I didn't 
intend a happy ending And that is why the men are 
tumbling down the bluff at breakneck speed. And though 


the snowman is crying "Oh no! Don't say you're leaving 
so soon and suddenly! Why don't you stop and rest 
awhile and spend some rime with me?" - the men are 
tumbling into a completely senseless death, without any 

The next book I wanted you to see is The museum of 
unnatural history (1993). Again the conflict between the 
masculine and the feminine has been worked out. I just 
didn't want, as in the earlier book, men opposed women 
right away. I aimed at a book without people. This book 
had to deal with an inner conflict: the struggle between 
the masculine and the feminine in everyone, in one's 
mmd. And I have chosen a slightly weird museum visited 
by nobody but you. suggesting the human mind. 

The first feminine reminder is on the cover: "Closed for 
repairs." In other words, you'd better go home for in this 
place nothing can be seen. A very wise observation that 
we had better take to heart. But the masculine in 
ourselves seeks for adventure and thinks in a practical 
way: since we are here, we'd better have a look. So we 
open the book and see . . . the Hall of the Museum. 

We find ourselves standing at the foot of a staircase 
and have to go upstairs to attain our end. We are entering 
the museum as a man and are welcomed by an enormous 
spider in her web. For me she is the Black Widow, the 
spider that invites the male in her web to seize him. next, 
after mating, devours him. A second important element 
of this spread is the window of the cashier. It appears to 
be the symbol of senselessness. Someone has died and 
decayed from faithfulness. He didn't rise when he felt ill 
but died behind his window even though the museum 
could be visited for free. Truly an example of senseless 

The third element, probably the most important one. 
is a detail at the left top of this spread: the stylized 
portrait of Sigmund Freud. He raises his skull as a 
welcome. But ... we don't see any brains. I didn't want 
to say he didn't have any. I aimed at their invisibility 
since we are completely enwrapped by his brains. 
Something like standing on the Eiffel Tower and seeing 
only iron beams and rivets. The object itself has lost 
characteristic features, it enwraps us and is too big for 
our perception. 

An invisible guide welcomes us saying, " Yes, we're 
closed for repairs, but we'll open just for you." Indeed, 
we're entering the human mind. Spread two shows the 
prehistoric reptile and fish collection. A unfortunate 
workman landed in the aquarium and was attacked by a 

fish with teeth which was then attacked by a bigger fish. 
himself attacked by a still bigger one that is gripped bv 
the tentacles of an octopus that waylays - to close the 
circle - the workman. We are treated as a man on this 
spread, a man's show in the aquarium and frogs jumping 
away with his vision (glasses) and talents (tools). 

Spread three is in the tropical greenhouse of the 
museum. Through the door we see a man running away 
from a carnivorous plant. All plants here are feminine 
and want to consume the man. The plant in the middle is 
a seated woman, high-heeled and breasted. She shows a 
specially big mouth with teeth and she speaks with many 
tongues. What she is after can be seen silhouetted in the 
background. Here is how the masculine in us is defeated! 

Spread four I call the spread of revenge. It shows the 
coffee shop and we finally see the first man m the whole 
book at his full length. He is completely boned and 
dismantled. His last guest was a woman, as can be seen 
from the relics on the table in front: a handbag and 
lipstick. The coffee stayed untouched. The man is 
offering us a small dish of wiggling worms and a bottle 
of raw poison. His revenge. 

In the kitchen we see a lady's shoe in the frying pan. 
and she picked the fish that threatened us on spread two. 
An enormous squirming snake enters the coffee shop 
from the kitchen. Here is how the feminine in us is 

Spread five allows us to look in the museum's gift 
shop. On the shelves we see two jars with brains in 
spirits, and boxes filled with glasses. The revenge of 
spread four continues, we see a woman about to be 
munched by a mammoth. A pterodactyl takes the 
building plans in his flight - the past runs away with the 
future. So there is no longer a past nor a future, there 
rests just today. And this present proves to be the night as 
you can see the stars in the sky. We stayed too long in the 
museum. We should have left earlier. But we cannot 
leave anymore. Never again. 

The sign "Exit" guides us to the shaky cellar stairs. We 
don't have to go upstairs now. as on spread one. but 
downstairs. When we want to get our coat and want to 
save us, we will have to conquer the monster. But this 
monster is invincible, too big and too strong. All who 
tried came to a miserable end. Our guide, commenting 
the whole visit in the museum, appears to be this 
monster Big and powerless the monster himself is locked 
in the dark cellar. The only diversion the monster has in 
his captivity is to challenge the sick visitors (man and 


woman in search of safety) and finally to knock them off 
the stairs. 

We'd better never visit this museum: we wouldn't 
want to end that miserable wav 

Siegler, continued from page 2 

The designer then writes up further instructions on the 
artist's sheets, indicating where the type will go. any 
further bleed instructions, and specific art direction or 
requirements the publisher may have All of these 
materials are copied, packed up. and sent off to the 

There are two stages to this part of the process, artist's 
pencils, and finished art work. At both stages, once the 
art is complete, the illustrator will send all the material 
back to the designer, so that a dummy can be made using 
the new art. Many refinements and adjustments are done 
Each step must be approved by the publisher. Sometimes 
the publisher may want changes to the artwork The 
designer must communicate these requests to the 
illustrator and send the materials back for revisions. It 
can be a diplomatic challenge at times, meeting the 
publisher's needs while satisfying the illustrator's creative 


Once the color zerox dummy has been approved, 
production mechanicals are done. At this stage, the 
designer will make any last minute text changes by the 
publisher, and order repro. ("repro" is camera reach - type 
used in the paste up of the mechanicals) or turn over the 
electronic type files to production, depending on how the 
job is going to be produced. Before the mechanicals are 
released to the printer, the designer, engineer, editor and 
production, review and sign off on the mechanicals. This 
is the last chance to catch any errors or make any minor 
adjustments. Then the completed mechanicals are 
shipped off. 

When the color proofs are received from the printer, 
they are given to the engineer to build a proof dummy. 
The proof dummy is routed around to the various 
departments for approval and comments, starting with the 
designer. The dummy is then sent off to the publisher. 
The publisher will usually have some minor comments, 
or last minute text revisions. Sometimes they may make 
major changes. They may be unhappy with how a 
particular piece of art reproduces. The designer will meet 
with production to determine whether the problem can be 

solved by adjustmg the printing. If not. the designer may 
have to go back to the illustrator for further revisions to 
the art work. 

Keep in mind that at all of these stages, deadlines are 
critical. Major revisions, especially at proof stage, can 
blow : an entire schedule. There are usually two proof 
stages. On occasion, the first proofs will be perfect and 
no revisions are needed. More often than not. there will 
be revisions. Die adjustments, color corrections, last 
minute type changes. Color corrections may need to be 
made because the printer may not always match the color 
of the artwork satisfactorily. For example, the overall 
look of the proofs may look washed out. or they may be 
"too red" The production department, along with the 
designer, will mark up the proofs with instructions on 
what needs to be adjusted, along with any comments 
from the publisher. The materials are then sent back to 
the printer for second proofs. 

After what seems like an eternity, the eagerly awaited 
finished pop-up book finally arrives. An extraordinary 
collaboration between many people. It is a satisfying 
feeling to hold, what had been a year ago. just an idea. It 
is almost alwavs worth the effort, and the wait! 

Superimposed plates, continued from page 6 

Superimposed plates experienced an enormous revival 
from the end of the nineteenth century through to the 
twenties. But their history began as far back as the 
sixteenth century 

The field of medical science was not neglected by that 
passion for research so characteristic of the Renaissance. 
Leonardo de Vinci was the first to draw the human 
skeleton in a truly scholarly way. though his research into 
the human body was limited by a prohibition on the 
dissection of dead bodies. Things were easier in this 
respect for the anatomist Vesahus. because Padua, where 
he worked as a professor, paid little if any attention to 
papal decrees. Even so. he had to get hold of his bodies 
himself, going out at ungodly hours and most often 
finding them on the gallows outside the citv gate. 

Vesahus (1515-1564) was the first professor to 
perform dissections himself, and his lectures attracted 
hundreds of interested onlookers. For us the most 
interesting result of his efforts is the publication of the 
Tabulae sex. These six anatomical plates, printed in 
Venice in 1538. are the first examples of superimposed 


plates. The male figure has five superimposed wood-cuts, 
the female four, each showing the internal organs under 
the fold-up flap depicting the stomach. These so-called 
Adam and Eve plates caused a major sensation 
throughout Europe, and were rapidly followed by no less 
than five new editions, in Augsburg. Strasbourg. 
Cologne. Frankfurt and Paris. In a foreword to Human i 
corporis fabrica (factory of the human body) which 
appeared in 1543 and was the first modern book on 
human anatomy. Vesalius showed his indignation at the 
countless imitations of his first publication, often of poor 
quality and. of course, produced without permission. 

Within a few years the number of layers increased 
rapidly, until around 1600 when the anatomist Remmelin 
achieved the all-time high of twelve or thirteen plates on 
a single figure. 

Superimposed plates were mainly associated with the 
human body. However, at the end of the nineteenth 
century there was an enormous need to acquire an 
understanding of the many inventions made in that 
century, for vehicles, machines and appliances. The 
submarine, the vacuum pump, the telephone, the electric 
motor, the locomotive, the hot air balloon, the petrol 
engine, a telescope or a coal mine, it is hardly possible to 
think of anything for which there was not superimposed 
plate. The whole thing became a complete craze. While 
originally plates were only made when the subject was so 
complex that the need was obvious, now the plates were 
made first and only afterwards was a text written for 
them. "Conciseness is undoubtedly a primary 
requirement for reading matter intended for the layman. 
I therefore found the publisher's request to provide the 
text to accompany the attached movable plates a proper 
reason for me to attempt to give a description which will 
satisfy' this requirement." wrote Alette Jacobs in the 
foreword to the booklet De vrouw (the woman), 
published by Kluwer in 1899. Another category which 
readily lent itself to superimposed plates was bodies of 
animals: the dog, the cow, the pig, the frog, the 
diplodocus and the honey bee. And just as in the time of 
Vesalius, now too the plates were aimed at people who 
were wanting to educate themselves, autodidacts. 

As far as I know, apart from the literature on 
Vesalius' Adam and Eve plates, superimposed plates 
have never been a subject for serious study, except in the 
Dutch periodical Utopia (no.5, 1977). The fact that its 
character is not totally serious and that it smacks too 
much of popular science is certainly to blame for this. 
Apart from that it is a difficult field of research to define. 

A splendid example of a publication including 
superimposed plates is the Grande encyclopedie 
pratique de mecanique et d'electricite. from the Paris 
publisher Aristide Quillet. It is a publication in five parts, 
dating from 1913. the first four parts of which form a 
handsomely illustrated encyclopedia which closes with a 
veritable apotheosis of the technique in the form of an 
atlas containing twenty thick cardboard pages on which 
are stuck the same number of superimposed plates, all 
dealing with machinery and appliances. Many of these 
plates can also be found in books brought out by 
publishers in other countries, and further investigation 
reveals that Aristide Quillet was a great supplier of such 
plates to fellow publishers throughout Europe. Aristide 
Quillet set up his publishing house in 1 89 1 , when he was 
eighteen years old. He specialized in encyclopedias, 
following in the footsteps of the firm of Le Breton who a 
century and a half earlier had undertaken an interesting 
publishing exercise with the encyclopaedists Diderot and 
d'Alembert. The autodidactic aspect of his publications 
was further emphasized in the titles: Mon professeut, 
Encyclopedie autodidactique . etc. 

The records of Aristide Quillet's publishing house 
were lost during the Second World War. so the way the 
plates were produced and distributed remains a mystery. 
Some parts of the mystery were unraveled with the aid of 
the archives of the Dutch publishing house Kluwer. 

Aebele Kluwer started his publishing business in 1 889 
with an industrial advertising sheet, distributed by 
himself free of charge, in which a large number of 
articles appeared in the fields of metal- working, electrical 
engineering, automotive engineering and the construction 
industry. Spurred on by its success, Aebele built up a 
new list of books containing "coloured fold-out models 
for self-study" such as "The dynamo" and "The electric 
motor" (1901); these were followed by many others. 

Kluwer' s archives have a collection of 33 
surjerimposed plates, from four different countries, which 
seem to have been a sort of sample collection for Kluwer 
to choose from. Most of these plates came from 
Germany. One of them, a "Papiermodell eines 
Dieselmotors" (paper model of a diesel engine) seems to 
be precisely the same plate as the "Moteur Diesel" from 
Quillet's atlas and the "Petroleummotor van Diesel" from 
Khrwer's own publication. From a short note attached by 
a paper clip, it appears that the diesel engine was drawn 
from a real diesel engine from the Maschinenfabrik 
Augsburg-Nurnberg Aktion Gesellschaft Abteilung D. At 
the bottom of the note was the model number: "Muster 



Only one of the hundreds of superimposed plates that 
I have looked at gives the name of the printer. The plate 
in question is entitled "Lithographic Model of a 
Stationary Gas Engine. "published by the Popular 
Mechanics Book Department of Chicago. Illinois, and on 
it. in small letters, appear the words. "Printed in 
Bavaria." That the craze also raged in Germany was 
confirmed by the preface to one of Kluwer's own 
publications, dating from 1899. in which the author 
noted: "In Germany works containing a 'Zerlegbares 
ModelT of a machine enjoy a favourable reputation . . . 
I was therefore happy to accept an invitation from the 
publisher to edit the works in this series for the 

In Blucher moderne techniek. that probably served as 
a model for Quillet's Encyclopedie de technique et de 
mecanique. it appears that all its plates, many of which 
are also included in Quillet's encyclopedia, were drawn 
from machines in German factories in places like 
Gummersbach. Berlin, Hanover and Kiel. It may be 
deduced from this that Germany was an important 
original source of superimposed plates. As to who the 
designers were, for the present we can only guess. With 
one exception The atlas in Henri Desarces' Nouvelle 
encyclopedie pratique de mecanique et d' electricite 
stated that the plates were lithographic copies of originals 
by Alexandre Pierson. Apart from the Frenchified first 
name, the whole thing really does sound very English. 

Superimposed plates 010 Diary 1997. By Hans 
Oldewams. Rotterdam. 010 Publishers. 1996. ISBN: 90- 
6450-285-4 128 pages. Spiral bound. 21 x 16 cm. 
Dfl29.50 (ca. $17.50 plus postage). Can be ordered 
from: Bookshop Bijleveld. Mrs Marina van Hoek 
Janskerkhof 7. 3512 BK Utrecht/ The Netherlands 
Telephone: 030-2310800. Fax: 030-2311774. Payment 
bv credit card 

3 9088 01629 2781 

[includes two small bears.] The Vermont Teddy Bear 
Company. 14x19 'A Carousel with 4 scenes. $49.00. 
Telephone: 800-829-BEAR. 

Cany kit: Make your own pop-up greeting cards. 
Smithmark Publishers. $14.98. 0-7651-9254-3. 

Cats. By Mary Engelbreit. Andrews and McMeel. 
March. 1997 . $6.95. 0-8362-2675-5. 
Also: Fishing. 0-8362-2676-3. 
Gardens. 0-8362-2674-7. 

Charlie the chicken. Harcourt Brace & Co. April. 
1997. 7 V 2 x 7 l A 20 pages. $12.95. 0-15-201451-9. 

Disnev 's Hercules pop-up book. Disney Press. June. 
1997.' 10 x 10. 12 pages. $13.95. 0-7868-3128-6. 

Flopsy Bunnies with sliding pictures. Beatrix Potter 
Little Hide and Seek Books. Warne. March. 1997. 
3x3.12 pages. $3.99. 0-7232-4357-3. 
Also: Two badmice. 0-7232-4358-1. 

In my home. Touch-and-Slide Puzzlers. Dial Books for 

Young Readers. March, 1997. 6 V2 x 6 'A. 6 pages. 


Also: On the move. 0-8037-2141-2. 

Monstergrams: Twelve spooky pop-up greeting cards 
to make yourself. Dial Books for Young Readers. 

Patch bakes a cake. Harcourt Brace & Co. April. 
1997. 5 14 x 5 'A. 12 pages. $5.95. 0-15-201382-2. 
Also: Patch goes to the park. 0-15-201379-2. 
Patch grows flowers. 0-15-201381-4. 
Patch takes a vacation. 0-15-201380-6. 

New Publications 

The following titles have been identified from pre- 
publication publicity, publisher's catalogs, or adver- 
tising. All titles include pop-ups unless otherwise 
identified. Titles reviewed in Robert Sabuda's 
"Movable Re%iews" column are not included in this 

Publication Dates 

Several of the books included in "Movable Reviews" 
will be available in the coming months: 

Animals at play - May 1 
Big machines - July 1 
Pop-o-mania - May 1 

Badbttv: A pop-up book. Chronicle Books. April. 
1997. $8.95. 0-81 18-657-5. 

Beau & BeeBee: Two tiny bears make a big move.